Ilona Ruegg

Zurich, 2017

Rehearsal without a password

C:        May I allow myself to be discontinuous?

I:          I am plunged into the continuous flux of the days. I want to stop it, to cut into it, to hold a keynote and then I finish with empty hands.

C:        I’m an impulse split down the middle.

I:          I am constantly exposed to what is in this world and what is possibly otherwise. To a degree that I am taken by the urge to turn things around and around and even back again.

C:        Since I understand nothing, I therefore adhere to the faltering mobile reality. I reach the real through the dream. I invent you, reality.

I:          Are things facts? But then they are constantly moving or waiting to be moved. What disturbs me, is that they seem to have already absorbed so much meaning and function, understood as holdings or projections and then again as certainties, as commodities and values. I want them to be exhausted, to the point that they say nothing, mean nothing, do nothing, have no value.

C:        … and I am no more than a promise…

I:          I am not a fact, I am fleeting in this fleeting world. I constantly try to attune the spin of what I undergo, of what I provoke, of what I invent, of what escapes me.

C:        I am unexpectedly fragmentary. I am a piecemeal. My story is living. And I have no fear of failure. Let failure annihilate me, I want the glory of falling…

I:          As the world is an enormous piecemeal, I may fit into it without having a steady place.

            I move between fractions of seconds and I am moving things to where they do not                belong.

C:        I’m an Anonymous Society. An open parenthesis. Please close me.

C:   Clarice Lispector, excerpts from “Breath of Life” 1978 and from “Agua Viva” 1973
I:     Ilona Ruegg, October 2019

“Password” 2015 – painted wooden door, all panes, opening devices and hinges removed. Transparent cast of both sides of the door. Original opening devices and hinges mounted. 
Untitled 2013 – wooden window frame, including casing, dismantled from an intact house wall. Panes removed and the coarse wooden surface treated with multiple layers of piano finish. Original metal fittings mounted.